News broke this weekend that artist, Walter Latimer, is a former Junior Olympics jump rope record holder! Check out the soon to be viral video of his performance at the SAIC Art Bash.
News broke this weekend that artist, Walter Latimer, is a former Junior Olympics jump rope record holder! Check out the soon to be viral video of his performance at the SAIC Art Bash.
Spotted: Independent Art Champion and Champion of the Arts, Anthony Stepter at the opening of Has the World Already Been Made? x4 by Daniel G. Baird & Haseeb Ahmed at Roots & Culture.
Now on view at The Poetry Foundation.
The AAM calls the proposed limit on charitable deductions “harmful,” but Bloomington’s Michael Ruston disagrees. Notable is his alternative suggestion of an equitable tax credit that would apply across donors, begging the question: should people in higher tax brackers really recieve more credit than those in a lower tax bracket if they are donating the same amount of money?
Surprisngly absent from the AAM document is a mention of the $59 million dollar increase to the Smithsonian Institution to fund, amongst many other initatives, The National Museum of African American History and Culture.
We’re most excited about the $500,000 proposed for building a telescope in Greenland to scope some black holes, but with a riveting 230 pages of FY14 Budget Proposal, there’s bound to be something for everyone. Right?
Abigal Deville’s opening at Iceberg Projects this weekend was TO DIE FOR. Iceberg’s normally crisp gallery was lost to a literal whirlwind of materials collected from Roger’s Avenue and transformed by the artist. More than worth the trip to Roger’s Park.
April 27th, 11amâ€“ 9pm. At Roots & CulÂture 1034 N MilÂwauÂkee Ave.
ServÂing a menu of brunch, lunch all day, and dinner.Brunch 11am-2pm. DinÂner 6pm-8pm. Kitchen closes at 8. 10 seats availÂable at a time. First come, first serve. BYOB. VegÂeÂtarÂiÂans, of course, are welcome!
Many of history’s greats are known to have painted a sun-dappled landscape or two in their day. Everyone from Winston Churchill to Dwight D. Eisenhower, and even Adolph Hitler have handled a palette. Just like Van Gogh and Gaugain’s portrait exchange, Eisenhower even painted a portrait of his venerable ally, Churchill.
Surprisingly, 43rd President George W. Bush has finally managed to join their ranks, not in political savvy, but through his newfound pastime of “makin’ paintin’s.” By now the entire internet is aware that George W. Bush is a prolific artist, having painted at least 50 dog portraits as well as some landscapes and even a couple n00dz. For once, What’s the T? couldn’t be more proud of our former Commander in Chiefing, and we have created a special hypothetical art collection based on his oeuvre.
In other news, everyone’s a critic.
by James T. Green
The stars must be aligning on April 6th since damn near every gallery in the city is having an opening. It’s ridic. In Logan Square, it’s finally Spring and the Comfort Station is reopening with an exhibition by Isak Applin and Adam Ekberg. Chicago’s fav Italian artist living in Vienna, Helmut Heiss, has also triumphantly returned for his upcoming ACRE show at Slow in Pilsen. Happy sources report that Heiss’s contribution is large and shiny.
Furthermore, Anthony Romero and Jesse Butcher have an opening at Happy Collaborationists that we heard is inspired by hippies and mud. Word is that Haseeb Ahmed and Daniel G. Baird’s opening at Roots and Culture will dramatically change the gallery space, incorporating a fountain and maybe even fish (but don’t quote us).
Auctions have been trending, so it’s no surprise that LVL3′s 4th Annual HArts for Art is also this Saturday. Guilt free, a portion of the proceeds will benefit local not-for-profit Better Boys Foundation, but the work is going fast. Almost a week out and work by Israel Lund has already been claimed. We heard that the raffle is going to be bangin’ too.
At least the SAIC MFA show isn’t this weekend. Good luck.
The Patio Theatre is arguably the most magnificent movie house in all of Chicago. With awesome programming by the Chicago Cinema Society, a revamped 1920′s Baroquesque interior and streamlined Deco marquee, Patio uses the vehicle of space, time and, more specifically color, to heighten its graphic grandeur.
Color envelopes you in ways only rococo could â€“ through ornamentation, stucco, mirrors, chandeliers, vaults â€“ in variations of gold leaf, reds, blues, yellows and greens. The Patio Theaterâ€™s procession starts with its stark yellow and red sans-serif Deco marquee. Once inside, you encounter a nearly 20ft high chromatic ceiling ticketing foyer, followed by a minimally modern concession stand, and finally culminating in the most mindfucking auditorium punctuated by a starry night twice the size of the Music Box Theatreâ€™s. Itâ€™s a series of effects that contemporary architects canâ€™t even fathom approaching i.e. using color to form, shape, line and syncopate a procession, not as appliquÃ©.
Patioâ€™s use of color is palpable and interactive. The culmination of this comes in the auditorium’s screen covering that employs classic vaulting effects with an abundance of color to achieve simulacrum by easily inhabiting both traditional building technique (without traditional necessity) and pushing nuanced ornateness in graphic (without being kitsch).
Sitting there watching a Samurai classic like Shogun Assassin on a Saturday night in Portage Park, not Lakeview, Logan Square, Southport or any other “hot spot” is an added bonus to this prismatic gem. Architecture â€˜looksâ€™ all the time and the colorful Patio Theater trumps most classic Chicago movie houses in terms of how comfortable it is in its own skin â€“ inside and out.
The Patio Theater is located at 6008 W. Irving Park Rd, Chicago, Illinois 60634.
December 21, 2011 · Print This Article
Caroline Picard:Â This series started for me because I kept hearing the word hybridity â€” in multiple conversations about different art works or practices, hybridity started to sound like a buzzword. While on the one hand, I know what the word means of course, it also feels like a term that carries a certain amount of baggage. I was hoping to try and identify what that baggage was and, even, pin down (if possible) what hybridity means. Perhaps part of its intent is to remain fluid and unpinnable â€” as a kind of strategy resistant to traditional power structures â€” at least that seems to be an element that motivates your own work. Can you talk a little bit about more why hybridity is important to you? [As an aside, I'd add that this interview took place several months ago, at the inception of the Occupy Movement)
Gwenn-AÃ«l Lynn:Â Hybrid is a word originating from the biological sciences. It indicates the cross breeding of different species or plants, often through human manipulation. However I am using it in the manner that Homi Bhabha defined in the 1990s. So, in my case, it is really a cultural term. I'm actually pushing this definition a little further, because what I'm really after is creolization, a term used, in particular, by Edouard Glissant, a Creole speaking Martinican poet, who, sadly, passed away recently. Where Hybridity is the offspring of two entities (in other words it hinges on a binary system), creolization allows for multplicity, a mixture where the different parts remain autonomous, a place of endless permutation. It speaks of a process, of something in constant flux, instead of just two parts synthesized into one. I'm actually looking for an appropriate translation of the French wordÂ mÃ©tissage, and I think it is really interesting that there is no literal equivalent in English. There are many expressions like â€œmixed-race,â€ â€œbi-racial,â€ etc. but they all result from colonial racial ideologies, and I simply don't believe that these terms are relevant to today's society. Not that we should stop acknowledging â€œraceâ€ in America, but rather if our language is still predicated on colonial racial terms, we'll never move forward. The mere concept of race is very confining. Meanwhile. the global world is mutating. Therefore I settled on creolisation as the closest meaning toÂ mÃ©tissage, an intercultural process (and cross breeding by the same token), that granted is a by-product of colonialism, but also gave birth to new languages: Creole(s); new religions: Vodoo, Candomble, Santeria; new ways of cooking: Caribean, Reunionese, Mauritian, Brazilian, Mexican, etc. And indeed these cultural phenomena, over a long history, often occurred under complex power structures (whether under the European Colonial expansion, or the various invasions that have shaped modern day India, or even the succession of empires around the Mediterranean basin.)
CP:Â How does this subject resonate with you?
GAL:Â I guess I should also specify that I am a hybrid, but not in a racial term, because I have a french mother and an American father (from California) and I grew up between two households, over two continents, speaking two languages. So, I've always had, at least, a dual understanding of the world. In fact, one of the key moments I became aware that I was not simply â€œFrenchâ€ or â€œAmericanâ€ occurred while visiting my former in-laws on Reunion Island (A French â€œOver-Seas departmentâ€(1) in the Indian Ocean) where a local journalist asked me if I considered myself a mÃ©tis [mixed race] because of my dual origins. I hesitated for a little while before answering â€œyes.â€ This answer would not be acceptable in a racially structured society like the United States (because I’m actually not the result of miscegenation, however I am culturally mixed), but on this island, where race relations are differently problematic, it was a possible answer, precisely because the Reunionese revel in creolisation. So when confronted with the North American way of dealing with race, creolization gives me a place that I can navigate, and more importantly where I can meet and share with other people, who are not like me, but who also possess this sense of belonging to a multiplicity rather than a single group or community.Â This creolized place is not only racially or visually motivated; it is linguistic (for people who command more than just English) transgender, and last but not least, political.
CP:Â It sounds like your understanding of creolization opens up at that point to include other kinds of mixes â€” like you say, mixes of sexual orientation, or gender etc.
GAL:Â Yes, I am naturally attracted towards other hybrids, and discourses, and practices, that embody such identity(ies). And, one of the things that have always disturbed me about the United States is that race theory, discourse, and emancipation has become very inward looking; we have all these very different hyphenated Americans (African-Americans, Asian-Americans, Italian-Americans, Irish-Americans, Mexican-Americans, and the list is quasi infinite) but this hyphen does not provide any room for those who belong to more than just one ethnic community. And there are many historical reasons to account for these racial divides (like, for instance, the â€œOne-drop ruleâ€)(2), it is a bit like, indeed we are a melting pot, but the content of the pot never melted. However, we tend to forget that the civil rights movement, for example, even though it started in the segregated South by those very people whose liberties had been restricted for so long. The civil rights movement had only been possible, and became successful by uniting across racial divides as â€œpeople.â€ If you look at pictures from those days you see people from all walks of life â€” there is a majority of Black folks of course, but you also see Jews, Whites, and in parallel you have Cesar Chavez uniting farm workers in California, and the formation of the American Indian Movement. As a matter of fact my father recalls participating in a protest against a segregated Woolworths in Santa Monica, CA, in the late fifties. Angry racist Whites were throwing stones at the protesters. Yet it’s through efforts and sacrifices of this kind that change was enacted. And so, today, I feel that â€œWe Americans,â€ unlike other cultures that have also felt the yoke of colonialism, like India, Brazil, or Mexico, we do not embrace our creolized nature. And we certainly don’t give space to those who refuse to identify as belonging to a single racial, or cultural, and gender category.
Â CP:Â Do you feel like we should try to shed identity altogether?
GAL:Â Of course not. It is not about: “let’s all mingle and become so homogenous that there is no difference left.â€ Rather, it is about the possibility of having multiplicity within each of us, and to relate to each other while embracing our differences. I think, but I’m not sure, that this is one possible interpretation of what Antonio Negri calls the â€œmultitude.â€ So it becomes a multitude of multiplicities, the ferment for new democracy. On a simpler level there is a gastronomic metaphor that, I find, illustrates multiplicity very well:
Our preference, for miscegenation as thought, will go to the soup, for it is respectful of its components leaving them intact in a sober and tolerant broth.3
[From the Dictionnaire du MÃ©tissage
by Francois Laplantine and Alexis Nouss,
Paris, Pauvert Editions 2001]
CP:Â Where does that leave us now? And why do you think people are so interested in hybridity?
GAL:Â You know, there are moments when, I feel we are where we are, in the middle of the Great Recession, with a Black president, who is actually a â€œhybrid,â€ but who campaigned as a â€œblackâ€ candidate (instead of a mixed-race candidate, because of the â€œOne-drop ruleâ€ I was speaking of earlier) and decided to show his birth certificate to answer pressure from the Republicans, because it is in the interest of Capitalism to have us divided like this. Divide and Conquer is an old colonial strategy to gain the upper hand. So if the American people is divided along ethnic classes that makes more cheap labour for Capitalism, because we are not going to get together to fight back. It’s easier to blame the Mexican immigrant worker because he is supposedly taking our jobs, or vice-versa to blame the Black worker, or the Unemployed because, as a citizen, he has access to what’s left of the welfare system, medicaid, etc. It’s easier to blame each other for the situation we are in than to reach out, and try to organize each other across divides, to actually take control and decide for our own fate. It’s a lot easier to let a bunch of flunkies on Capitol Hill haggle over the debt ceiling for weeks on end, while it’s getting harder for all of us to put food on our plates. And this goes for artists too, we are workers, we are manual and intellectual workers, but we are divided along medium, schools, hell we are divided along race too! And many of us accept to work very hard practically for free. Some of us even put themselves in debt in the hope of finishing a project because we are at a point where there no longer is any viable support for making art. But who reaps the fruit of this hard labour? The art market. Has it ever invested into an ambitious artistic project? Does Sotheby’s give back to the community when it scores a big sale? Nope! It lets the local art council support as best as can the making of art, and comes afterward to harvest the product without even leaving a dime behind. And yet we all put up with this system, or rather we just witness its passing. There are some in the community who are trying to raise some awareness about this labor division within the art world.
CP:Â Do you have an example?
GAL:Â I am thinking of Temporary Services, for example, who releasedÂ a newspaper last year. There isÂ American for the ArtsÂ but they are really more of an Art in Education advocacy group in DC. How about a group who advocates for better â€œart making conditions,â€ for the possibility of being a full time artist, rather than an artist with three or four different odd jobs and no time for art making for example?Â Recently, as part of the Occupy Wall Street movement, there has also been Occupy Museum and Occupy Art.In France, some artists are trying to self organize under various headings to fight for more support and better policies, but it is one high steep hill. So, anyways, these are some of the reasons why I make work that addresses questions related to hybridity.
CP:Â How has this stuff influenced your own practice?
GAL:Â In terms of art projects, well there is this interactive Audiolfactory (4) installation I started working on in 2009, and for which I was awarded a CAAP grant dy the DCA of Chicago, but it’s unfortunately still in progress (I say unfortunate because I had originally planned on wrapping it in one year!).
CP:Â Doesn’t your work incorporate smell?
GAL:Â I started by engaging in conversation with other hybrids about their understanding of creolization and I asked them to relate their experience to smells, in order to garner scents that could be described as â€œHybridâ€ (again not in a chemical or biological sense, but rather as associated to a hybrid experience). In order to meet my interviewees I relied on ads placed on the CAR website, on Facebook, on fliers placed in key coffee houses, and on cultural centers such as the American Indian Center on Wilson avenue, the Center on Halsted, the Korean American Center, The Tibetan Cultural Center in Evanston, the Asian American Museum in Chinatown, the Japanese American Historical Society, as well as word to mouth communication. Methodologically I did not rely only on conversation (in other words on language) to determine what these smells could be, I also conducted a performative scent workshop to see if the â€œperformative bodyâ€ would suggest other scents, in which Sebastian Alvarez participated. This workshop actually led to other scents, but the unforeseen issue is that it has now grown into a performance workshop that I have been asked to conduct in several places (including Lithuania) with no particular connection to hybridity. Anyways, after all these smells were suggested, I then collaborated with two perfumers : Michel Roudnitska (based in the South of France), and Christophe Laudamiel (based in New York) to reproduce these scents. I am not disclosing what they are yet, because I want the experience to be fresh and unmediated when this installation opens to the public (no set dates yet), but some of them are really surprising and interesting.
CP:Â Does the piece focus solely on smell?
GAL:Â Sounds will be associated to each scent station, and for this section of the project I am collaborating with an experimental DJ: Christophe Gilmore aka FluiD, who is originally from Los Angeles, but is now based in Chicago, and is actually Creole. Some of the comments and observations that were made by the various hybrids I engaged with will also find their ways into these sound samples, but I have to work that out with them, making sure they agree with the edits, get their permission etc. But these abstracts will greatly complexify the definition of creolization I gave earlier.
CP:Â It sounds like your understanding of this terminology, and your investigation of that terminology, changes depending on who you work with.
GAL:Â One of the great things about working with people (rather than alone or â€œin the name ofâ€) is that it really gives you a plurality of meanings, and forces definitions to be very fluid and transient, but it is also hard because you have to make sure nobody is left behind or frustrated by the process. All of the participants to the project get credited in the end, but that’s a few months away. Each sound/smell station will be in the form of rice paper machÃ© sculptures (mostly because I need material that at the same time contains but let smells and sounds ooze through) in the shape of noses and ears, so as you can see the hybrid nature of this installation really resides in its scents and sounds and not so much in its visual aspect. And that’s a deliberate choice, because it is the eyesight that makes us see race (skin surface level). Whereas it is not so present (but not completely absent either) in our aural and olfactory phenomenology. As Stuart Hall once said: â€œrace enters the visual field.â€ There is actually a number of texts on visual hegemony and how this differs when it comes down to olfaction, but that discussion would take many more pages. But in a few words I can say that I’m addressing the question of creolization through smells to open up a new territory, not to be charted visually, but to practice rhizomatic studies to sense how identities, formed out of multiplicity, can get together and generate new sensibilities, new relations and hopefully new knowledge in how we can form inter-related and diverse groups of human beings.
CP:Â Has your relationship with your various participants changed over the course of this project?
GAL:Â While working on the above mentioned project, my former roommate moved out, so I placed an ad on Craigslist to find a new one, and one of the respondents happened to be someone I had initially interviewed for the project. So he moved in, and we are getting along well. As the project has been taking so long to complete I have been hosting â€œhybrid dinnersâ€ at my house once a year to keep in touch with my fellow hybrids but also to let them know I am still working on the installation, and to continue our conversations. For one of these dinners, Hermes (that’s my roommate) decided to make a Black-Xican Pozole (as you may have guessed he is Black and Mexican, and a fantabulous professional chef). It’s a pozole made the Mexican way, but it also incorporates elements of soul food like collard greens, and ham hock. Shortly thereafter I was invited, by Alberto Aguilar and Jorge Lucero, to contribute to a show they were curating: Hecho en Casa, a program of events that verged on acts of domesticity. So Hermes and I decided to turn the dinner into a public performance.
Finally as a last example, I could mention a previous interactive odour and sound installation (2006) which, when I made it I did not think of in terms of hybridity, but looking back I think it would qualify, even though, at that time, I did not have the theoretical baggage, let alone the drive, to conceive of it as a hybrid project. It’s an installation that I made while being an artist in residence in the Netherlands, in Enschede, close to the German border, via the European Pepinieres for Young Artists network, Transartists and the media department of the AKI. I wanted to address the fact that in current European discourse, and in particular in the Netherlands, despite years of immigrant labor and influx from the former colonies, identity is still defined from the center, the White Dutch majority. For instance, the Dutch government passed a law, a few years ago, that forces new immigrants to be fluent in Dutch. Yet there are plenty of Dutch citizens who are from the former colonies, and speak other languages. From my perspective this definition is very problematic, so in order to come up with a postcolonial definition of the contemporary Netherlands I met and engaged with Dutch nationals who had some kind of affiliation with the former colonies. As expected I met many different kinds of people, some with very traumatic histories, because independence was not a peaceful process, others because when they came to the mainland they had to deal with blatant racism. Some of these questions and stories were integrated, along with music composed by Antony Maubert, into the sound part of this installation, and others (I had a lot of data) were indexed on an audio CD that was released with the opening of the show in Enschede. And as an answer to the push for monolinguism by the authorities, the soundtracks of this project total 8 languages (Afrikaan, Bahassa, Balinese, Dutch, English, Papiamento, Taki-Taki, and Zulu). Indeed, Dutch is not the only language spoken today in the Netherlands. So it is by no means exhaustive, but instead reflect the people I met, while in residence. This project was my initial collaboration with Michel Roudnistka for the smells. Looking back at that project, I tried to manifest ideas of creolization by using a non-dialectical structure. A sensory experience organized by associations in order to foster connections and expand ideas of communities, language, identities, etc.
But regarding hybridity specifically in regard to this installation from 2006, I think my most interesting find was that when Indonesia was occupied by the Dutch there were Indos who used the following expressions to describe their ancestry: the Motherland was Indonesia, and Fatherland described the Netherlands, because often, Indos were the children of a Dutch male civil servant who had married an Indonesian woman. This example was narrated by Johan Ghysels (an Indo photographer from Enschede) on the soundtrack associated to the odor of Kretek (clove cigarettes). In his words â€œwe were the in-between layerâ€ of Dutch colonial society, between the white elite and the Indonesian natives, rejected by the latter because more privileged, and despised by the former for not being â€œcompletelyâ€ Dutch. As a matter of fact, many of the people I talked to, in the course of this project, described themselves as â€œin-betweenâ€. When independence struck, many of the Indos had to leave for fear of being exterminated by Indonesian Nationalists who identified them with the oppressors. So they sought refuge in the Netherlands where they had some relatives but once there, as Gill Bollegraf, another Indo photographer from Enschede, told me, they were confronted by really strange behavior. An incident happened to her mother (Gil was born in the Netherlands): one day at the market, after her arrival in the Netherlands in the sixties, a little White Dutch kid lifted her skirt to see if she had a tail, because he thought she was a monkey. So a few Indos went to California to start a new life but the majority of them, nevertheless, stayed in the Netherlands. Today they have organized themselves into different associations (http://www.nasi-idjo.nl/), they have their own music, food, etc. It is a striving culture, but always remains at their core, this sense of having been forcibly displaced.
(1) Read: former colony, whose inhabitants decided to remain within the French RÃ©publique when the colonial empire broke down in the 60′s and 70′s. It boasts one of the most creolized population in the world.
(2) Meaning any person with “one drop of black blood” was considered as black under the Racial Integrity Act, despite the fact that many were mixed-race people.
(3) This quote is my rough translation of the following text, and operates a distinction between two kinds of soups: the potage -which is a soup where all the ingredients have been grinded and blended and a soupe where all the ingredients are left as they are, floating in their broth: â€œNotre prÃ©fÃ©rence, nonobstant nos penchants gastronomiques et leurs goÃ»ts respectifs, ira, pour une pensÃ©e du mÃ©tissage, Ã la soupe. Car elle est respectueuse de ses composantes qu’elle laisse intactes dans un bouillon sobre et tolÃ©rant. Le potage, lui, broie, mÃ©lange, passe, bref il fusionne, visant Ã l’homogÃ¨ne.â€
(4)Sound and smell
(5) Roots… (a speaking garden) 2010. Installation made while in residence at the PÃ©piniÃ¨res EuropÃ©ennes pour Jeunes Artistes in St. Cloud, France. A sound enhanced winter garden. Foreigners, and nationals with experience abroad, recommended the plants constituting this installation. While in residence, I met with them and conducted interviews discussing the metaphor of roots, as pertaining to one’s origins. During the exhibition, abstracts from these interviews were triggered by the visitors, whose displacements were monitored by discrete c-mos cameras and a computer where these displacements were analyzed by two open source software: Processing and Pure Data. Pure Data patch built by Ben Carney.
(6) This dinner took place at Cobalt Studios, located in Pilsen, and was sonified with a â€œPilsenâ€ soundscape. It was part of a series of event: Hecho en Case/Home made curated by Alberto Aguilar and Jorge Lucero. A program of events that verged on acts of domesticity.
(7) interactive odour and sound installation (2006). Detail of kretek diffuser (clove and tobacco). Scents, sounds, electronics, infra-red motion detector, MIDI box (an open source interface), software, computer. This project was realized while in residence in Enschede, the Netherlands, via the European exchange program for young artists: â€œEuropean pÃ©piniÃ¨res [nursery] for young artistsâ€. Collaborators: Paul Jansen Klomp (new media artist), Antony Maubert (composer), and Michel Roudnitska. (perfumer).
This installation has been shown in Enschede at Villa deBank in April 2006, in Eindhoven at De Overslag in March 2007, and at Casino Luxembourg, Forum for Contemporary Art, Luxembourg in September 2007.
Here’s our midweek summary of this n’ that and other chit-chat happening in the world of art and beyond.
*Was overzealous corporate art collecting partly to blame for Lehmann Bros. fall? Former Lehman trader Lawrence McDonald speculates that indeed, it was, in his new book about the investment behemoth. Artnet fleshes out the issue in its latest report.
*Bill Viola rejects Vatican’s invitation to a summit “aimed at bridging the gap that has developed between spirituality and artistic expression over the last century or so,” reportedly because Viola disagrees with many of the Catholic Church’s policies. No word yet on whether artist Robert Gober was invited, and if so, whether or not he’ll attend.
*If you haven’t already been following this issue, this L.A. Times article provides an excellent one-stop summary of the current controversy arising from the Obama administration’s alleged attempts to “politically manipulate” the NEA and, by extension, the arts communities it serves.
*Wanna know what the Art Institute is deaccessioning this Fall? Read Green’s roundup of what they’re hoping to sell, here.
*Four Andy Warhol prints of famous sports stars stolen from Richard Weisman’s L.A. Collection.
*Annie Leibovitz finally reaches an agreement with her creditors.
*Bob Dylan to exhibit nearly 100 of his paintings in a 2010 solo exhibition at the National Gallery of Denmark in Copenhagen. An example of Dylan’s work heads this post. How will they stack up to Joni’s, I wonder?
Kathryn Born who is building a little corner of Art talk and opinion under the roof of the Chicago Tribune asks a lot of conversation starting questions every now and then to get the mind racing but most recently the Tribune home page front page story “Obama as The Joker: another image co-opted by conservatives because they don’t have art of their own” has her taking the political zeitgeist by the horns and goring herself.
The question is do Republicans make decent let alone good artists and why are they incapable of making political artwork of merit. Mix that with a bit of background history on the Obama Joker image that came out over 2 weeks ago. It has been discovered that the image was first created by a Chicago History Student at U of I by the name of Firas Alkhateeb who made a faux Time Magazine cover with a photo of Obama photoshoped to look like the Joker. That image was put on his flickr account and then appropriated by a currently unknown person on the west coast and the Time reference was removed and the Tagline “Socialist” was put in it’s place.
The question it seems is what is the role of Art in Politics, does political art have legs to have lasting impact as art or is it limited to only high water marks in history? Then finally what is the problem with Republicans and their inability to make quality political art? Are they too busy drawing paychecks to draw altogether? From one agitator to another, I salute Ms. Born and suggest a 2004 Siduri Sonoma County Pinot Noir which goes well with shoe leather as I well know from experience.